Last Night A DJ Saved My Life: Colleen in conversation with Fabienne

Fabienne, London born and New-York based DJ, recently launched a new series of podcasts entitled "Last Night a DJ saved my life". For the second episode, she met Colleen.

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COLLEEN'S INTERVIEW

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Note: Although the podcast has been initially recorded on March, 03rd 2024, it has been aired on youtube on June, 08th 2025.

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TRANSCRIPTION OF THE INTERVIEW

[Fabienne]

Hey guys and welcome back to episode two of Last Night a DJ Saved My Life, the podcast. So I hope you enjoyed episode one, with Bill Brewster and Frank Broughton, and all the most incredible knowledge that they gave and that they brought to the episode, and episode two we have Colleen Cosmo Murphy. I am so excited for this episode not only because as a female DJ it's really interesting to hear another female perspective from someone who's been in industry for 35 years and she's been in, she's been DJing since she was 14, and it's just so incredible to hear her story and where she came from and how her musical career developed and how she came to work with David Mancuso of The Loft.

She had so many exciting stories to say and so many points to touch on and I can't wait for you to hear it. So here it is, episode two of Last Night a DJ Saved My Life, the podcast with Colleen Cosmo Murphy. Enjoy!

Welcome back to Last Night a DJ Saved My Life, the podcast. On today's show I have a guest that's an absolute icon of mine. Someone that has been described as dedicating every inch of her soul and being to the pursuit of music which feels like an absolute dream for me.

Founder of classic album Sundays, the world's leading album listening event and an authority in music, sound and vinyl renaissance, which is something that we definitely have to get into. She has been part of the movement that changed music forever and it's a place that I would sell my soul to go back to. That is of course David Mancuso's The Loft.

Famous for her eclecticism, not sticking to one genre, you can find her on Mixcloud every Tuesday for Balearic Breakfast and Sundays on NTS. Please welcome my guest Colleen Cosmo Murphy. Hello.

[Colleen]

Hello.

Thank you, that's a glowing introduction. I almost started tearing up.

[Fabienne]

Thank you so much for coming in today.

[Colleen]

My pleasure, thanks for having me.

[Fabienne]

We've got so much to talk about. I mean you've got such a rich musical tapestry I can't wait to get into. So with that, with being in the music scene for, I mean since you were a teenager I guess, from producing music to DJing to curating music, I guess let's start from the beginning. How did you start getting into music?

[Colleen]

Well how did I start getting into music? I mean it was all around me on the radio growing up outside of Boston and suburbs and we had great radio in Boston because we had so many universities.

[Fabienne]

Right.

[Colleen]

It has the most colleges and universities out of any other city in the United States.

[Fabienne]

Wow, okay.

[Colleen]

And of course college radio was really big when I was growing up but also the radio stations were really good so I was able to access different kinds of music than other people who were growing up around other cities throughout the United States.

I also had a lot of teenage aunts and uncles. My dad was young when he had me and he was the eldest of six, proper Irish Catholic family, and so I would raid their record collections as well whether I found Kate Bush or Pink Floyd. Started making mixed cassettes about 12 years old and then when I was...

[Fabienne]

Did you wheel?

[Colleen]

Yeah, exactly. But these were just pause, on the pause button, because I didn't have two turntables at that time obviously. Right. 

And then when I was 14 years old I started as a DJ on our 10 watt high school radio station, WHHB, and that was kind of the beginning of my journey in terms of playing music and selecting it in public.

[Fabienne]

And I guess, so you always knew you wanted to get into music because I think sometimes it's either there in your soul or maybe it comes a little later but it sounds like you always kind of wanted to be part of it.

[Colleen]

Well, I never studied music. I mean, I took organ lessons when I was young. I was a singer when I was young as well and I just...

It was the radio station and being obsessed with the radio that really led me there. And when I went to university in New York in 1986, the way I chose the university was to have the best college radio station.

[Fabienne]

Right.

[Colleen]

Oh, that's really cool. Yeah, it was really interesting. But I studied other things too. I studied comparative religions in school. I also was accepted to a master's program for anthropology. Right. But as I was always working in radio, I would... That's just kind of where I would focus my energy. So it's, you know, it's sort of by...

[Fabienne]

It wasn't necessarily intentional but I just couldn't stop. Yeah, I think that's the thing, isn't it? Once you focus your energy on something, it just kind of starts pushing you in that direction. With that 54th anniversary of the loft that just happened last month, I wanted to go over and just tell the listeners about what you mentioned recently, about the different things that Mancuso taught you about music, if you will.

[Colleen]

Yeah, he taught me so many things. I mean, first of all, he taught me about sound and audiophile sound and getting the best playback you possibly can. I studied sound and radio also at NYU and was mainly recording, editing on tape, mic techniques and things like that.

It wasn't about playback. Right. So David really taught me about that, you know, how to set up an audiophile sound system but also how to use it.

Okay. Which is very different because there's only certain records you can play on an audiophile system because it doesn't lie. So that's very difficult.

He also taught me about the importance of community, you know. The loft is a worldwide community, probably thanks to some of the work that we did together with the compilations and getting David's name out there back in 1999 because not many people knew who he was at the time.

[Fabienne]

Yeah, and I guess social media and things that wasn't about, it was just word of mouth.

[Colleen]

There was no social media. Yeah, exactly. And the internet had really just come into play a few years earlier.

Right. So the importance of community is something that's really is at the heart for me and I have definitely built a community with classic albums, Sundays and Balearic Breakfast. Also, just the whole life energy of music, that idea that music is a healing force.

There was a book that he gave out to many friends called The Life Energy of Music by John Diamond. And it's all about choosing music that uplifts people. And, you know, I like all different kinds of music and I listen to different music in different places and at different points in my life and in different parts of the day and on different days.

Yeah. But when you're out in a club, you don't want to depress people. Yeah. It's about uplifting. So I do choose music in my party sets more in that way. But also it's just about being a good human being, you know, and really trying to take the higher ground, even when you're faced with some massive challenges. And that has been one of the things that I've really set out to do following David's footsteps in that as well.

[Fabienne]

Right. And in terms of the challenges, is that something that was the pandemic, do you think?

[Colleen]

Pandemic and also, you know, there's also still sexism in our industry that's really rife and something that's affected me greatly as well. And, yeah, lots of different challenges. I mean, it's a hard business. Yeah. It's very competitive, kind of backstabby, but it can be the best one as well. You know, there's there's advantages and disadvantages to everything.

I mean, someone watching this might say, oh, she's going to complain about being a DJ and playing music and traveling the world. And I'm not. I love it.

[Fabienne]

I love what I do.

[Colleen]

Otherwise, I wouldn't be doing it.

[Fabienne]

You've always got to take the good with the bad, isn't it? There's always a balance, but we'll definitely get into that in a bit. But I do want to talk about Balearic Breakfast.

And, you know, you mentioned community and you have such an incredible community there, you know, watching you dancing, listening. I mean, thank you for accompanying my all my packing I had to do last night. It was great. So, yeah. How did how did that start? Was that something you saw? I think I read somewhere something that you started in the pandemic. Was it something before that as well?

[Colleen]

No, it wasn't before. Basically, I was a broadcaster on Worldwide FM right after Giles Peterson started the station. He asked me to join up and become one of the DJs. And I hosted monthly Cosmodelica shows and monthly classic album Sundays documentaries. When the pandemic happened, I believe only Giles and I had the ability to broadcast live from home. And I'm a broadcaster and broadcasting live is so different than broadcasting.

It's a prerecord. I could just never get in the spirit. I don't mind there being mistakes when it's live. When it's prerecorded, it always feels a little bit staged. Yeah. And it's just I just can't get the feeling. I like being on the edge. I think it really is really a good thing for me. I learned to mix, you know, DJing on the radio.

I've just learned my chops in front of people, really.

[Fabienne]

It's a different energy.

[Colleen]

It's a completely different energy. It's really great. So you're feeling something coming back, even though you can't see it.

[Fabienne]

Yeah.

[Colleen]

But I could kind of see it in a sense because we were streaming live and I was using MixCloud Live, Twitch TV, and people could comment in live time. In any case, I had a show that I called Summer Staycation in the summer of 2020, because Giles decided to take a maybe a month off or two months off, the whole summer off, I think. So I covered one of his shows. And it was called Summer Staycation because I wasn't going anywhere.

[Fabienne]

I didn't think any of my listeners were going anywhere. I didn't think the rest of the world were either, yeah.

[Colleen]

Exactly. And then when he came back in September, he said, well, there's a lot of pickup on your show. Why don't you keep the slot? Great. But this is September. How can I call it Summer Staycation anymore?

And it was kind of a balleric-y vibe show in that it was very eclectic and it felt like the music had a quality of taking you out of your kind of, taking you to a different kind of world. We were all trapped in our homes and there's something transcendental about the music. So I put the word out to the community, suggest some radio show titles.

And a friend who is also a member of the community came back and said, how about Balearic Breakfast? And that's how it happens. And then after Worldwide stopped or went on pause or stopped as a full-time radio station, I decided to keep the show going and just do it on my Mixcloud Live and Twitch TV.

And it still gets like number one on the balearic charts and new discos charts.

[Fabienne]

Yeah, you have thousands of listens. Yeah.

[Colleen]

And the thing is, it's like a radio show without a radio station.

[Fabienne]

But I think that's the way to go, isn't it? These days, doing it yourself. And didn't you have a sellout compilation of it last year?

[Colleen]

Yeah, we're just doing the third volume right now. I just approved the artwork yesterday.

[Fabienne]

Great.

[Colleen]

Coming out in May. I believe it's the first week of May, May 3rd. Okay, great. And then I'll be doing some album release parties around in the UK and Ibiza.

[Fabienne]

Well, that's perfect. Yeah, that aligns nicely.

[Colleen]

Yeah. I hate to use the word brand because I feel it's more of a community. Right.

[Fabienne]

Okay. Yeah. Well, I guess that's a bit like Classic Album Sundays. I guess, what would you say the difference is? Because Classic Album Sundays is a listening party. It's quite similar to, I guess, what they do in Japan. Yes.

[Colleen]

Well, I never even knew about this. I lived in Japan in 1989. I was a radio DJ there when I was 21. And I've been back and forth, you know, as a DJ from the mid 90s. Okay. But no one had ever brought me to a jazz kiba. Right. Before. So I didn't even know about that idea. It really kind of sprang out of getting to know more about hi-fi and having hi-fi in my house and listening to records in full and thinking, oh my gosh, this is so different. But also all of the journalism I've done in the past, all of the radio interviews I've done in the past, I've interviewed hundreds of bands. I've written about music.

I've done a lot of different things in music beyond DJing. And it kind of brought all these different experiences together. So I started that in 2010. And I also wanted to address how we listen to music, music quality as well, both on playback and the format, which is why I was championing vinyl. And this was before the vinyl renaissance. And, and also listening to albums in full uninterrupted and immersing yourself into the music, but also the story. And it was great. I had no idea it would take off in the way it did because three months in BBC came along, they put me on BBC Breakfast, and there were no listening bars in the UK. No, yeah. There were, there wasn't a vinyl renaissance.

[Fabienne]

I think there's probably minimal now anyway. You know, I know they're popping up, but it's still quite minimal. Yeah.

[Colleen]

Exactly. And it just inspired a lot of other people to do something similar. And because it just really hit a nerve in many different ways, whether it was vinyl culture, album listening, or audiophile playback, or just how we listen. Yeah. Because the whole sense of hearing is so important. And it's just as important as your sense of sight, if not more. Because we can listen 360 degrees, and we listen unconsciously.

We don't filter out the sounds unless you put earplugs in. But with our vision, we have to turn our gaze, and we have to fix on it. And then we can shut it off and close our eyes. We can't close our eyes. So it's really important.

[Fabienne]

Yeah. And I think maybe that also because, you know, we can, like with digital, we don't take the time. People don't really listen to full albums anymore.

So doing something like that really brings people back into listening to more than just what's the song that's been chosen for radio play or for streaming play, absolutely. And you have to think of the album as a complete artistic statement, even if it's not a concept album.

[Colleen]

It's a representation of where the artist is at that point in their musical journey.

[Fabienne]

Yeah.

[Colleen]

And you don't even have to like all the songs. But I would say if there's an artist that you really like, just listen to one of their albums all the way through. You don't have to, again, but I think you'll be surprised because so many times there's tracks on the album that you like better than the single.

[Fabienne]

Absolutely. But isn't it so weird how that's what you would do, and now we just kind of don't, you know? It's definitely something listening to the whole album is something special now, whereas it was something we just would do.

[Colleen]

Right. And it's also nice to take time out and just listen and not do anything else. Turn the phone off, close your eyes. It's really relaxing. It lowers your blood pressure, and it's just really good for your mind and your heart and your body.

[Fabienne]

Yeah, it's almost a form of meditation. Exactly.

[Colleen]

I call it audio yoga.

[Fabienne]

Oh, I love that. That's great. That's another thing you should probably start doing now.

[Colleen]

Well, I have a series called Audio Yoga on my Mixcloud, and there's a bunch of just one-hour mixes that are more kind of spiritual jazz and things like that, just music that people have done yoga to.

[Fabienne]

Yeah. Oh, that's amazing. So I believe you can find inspiration in any genre of music and don't necessarily have to stick to one, and just like yourself, play quite eclectically. Have you ever felt the pressure to be put in a box and maybe stick to one genre?

[Colleen]

100%. When my career started taking off in Europe, after I moved over in about 2000, this is when dance music was really at a peak. And I remember at one point, a few years after I switched agents, she was a brilliant agent in terms of business. Excellent. And she's the agent and manages some of the top talent, DJ talent, and I was her first woman DJ. Right. And she said, make me a mix that I can send out to promoters. And I made a mix that I thought was kind of this punchy, and I thought a bit more energetic than the way I would always play. I can play in a lot of different ways. And she turned around and said, don't you want to make money? And I realized I just can't be pitch and hold. And sometimes I do feel like that has been to the detriment of my career, because I do feel it is easier to rise through the ranks when you have a definable sound and look and everything is gelling together.

And I understand that. And it's easier for people to kind of digest. It's easier to promote. You're known for one thing and you do it really well. There's people that do that. I don't have an issue with that. I'm not saying one way is better than the other. It's just my musical history is so varied, and I love music, all different kinds of music, and it's been such a huge part of my story. And with Classic Album Sundays, I also get to exhibit that passion as well beyond the dance floor. I just couldn't do it. I think you have to remain authentic to yourself. And if that works for you, just I'm going to do just this style and do it really well, that's great. There's nothing wrong with that. It's just you have to know who you are. And that's not me. And maybe the fact that I'm still around and it's been a slow and steady build, maybe that diversity has actually helped me in the end. But it didn't feel like it 25 years ago.

[Fabienne]

Right. Yeah, I think me putting yourself into one genre just kind of inhibits any type of play or inspiration from anything else. I remember a long time ago, someone said to me, you can get your inspiration from things that make you feel uncomfortable or sound uncomfortable.

[Colleen]

Oh, 100%. Being on the edge and challenging yourself and taking risks is one of the best things you can do in your career. I know David Bowie said something similar, but really getting outside your comfort zone is the only way you're going to grow.

[Fabienne]

Yeah.

[Colleen]

Otherwise you stay flat. If you don't have challenges, if you don't challenge yourself, you will just remain the same, you'll remain stagnant. So these things are really important.

[Fabienne]

Yeah, I think so. So I guess being part of movements such as The Loft, it feels like gender wasn't really an issue at the time. Well, don't make any assumptions.

Right. Fine. Exactly.

So because I was going to say, as a woman in industry, have you felt that things have been gatekept from you?

[Colleen]

Well, it's a tricky situation. First of all, I want to just say one thing. I have had amazing male mentors, supporters. And in fact, if I didn't have them, I wouldn't be where I am today. And I also have incredible male listeners and people who support me as fans. And most of my experiences, I would say, have been good.

Otherwise, I wouldn't be here. But yeah, there's been a lot of different obstacles in my way. Some that I've overcome and became the first woman program director of that radio station or went to an audition that was only open to men.

Or I was at a record shop and I ended up not just working behind the till, but on the floor helping people, all sorts of little things when I was younger. But no scene is exempt from sexism. Absolutely. And what I have found in my own experience, I mean, I have never been sexually assaulted, thankfully, been sexually harassed like I think every single woman has, but not assaulted. So in that way, I'm lucky. Sad to say I'm lucky because I haven't been sexually assaulted, but it's true. But there's been some blatant sexism and that stuff is easier to deal with. When you have a bouncer telling you, you can't enter the club when you're standing there with a box of records because DJ Cosmo is not a woman, that's kind of easy to deal with. You just tell him to go where and you go underneath the ropes and you walk in and say, arrest me. You can do that. So those things are easy because it's so overt. The real problem is unconscious bias.

And I suffer from this and every woman suffers from this to this day. And it's generally hard to accuse somebody of that because they will always say they didn't do it. And this is something that even liberal men do. The double standard of how women are treated unconsciously still exists today. So for instance, if I am assertive about something, I'm aggressive. If a man uses language that's even stronger than me, he's just making a point.

The boys club and how they gang up on you, there's like certain overall, as I've said, I've had amazing support, but it's really the ones who maybe look at me and maybe they want what I have or maybe they want the relationship I have with David. I'm just told by one person to my face and publicly, everything you've done in your career is down to David Mendeza. They put my entire career onto one man. I was working before he went in. No one even knew we were working together in the 90s for the most part. I helped put on, you know, get his story out to the world.

But that's the kind of thing that people will say and that usually comes from a place of insecurity themselves. Oh, definitely. Not everybody likes a successful woman. I think successful women have more challenges than successful men. I'll go on and say that. And we also get more backlash online. It's incredible, you know, the kinds of challenges that we get online because we have the kind of keyboard warriors that are anonymous. But you know, it does stem from jealousy and insecurity and it's really hard because you can't call it out because you can't prove it. And also, these guys would never admit it.

But as I said, overall, my experience has been positive and I'm really thankful for that because I know other women have suffered a lot more than I have. And you know, like in any career, you have to take the bad with the good. And things are changing, you know, and there's more highlighting it. And I think the more we talk about unconscious bias and we as a society challenge the double standards that we face and really look what I've said to people is look to where women aren't being mentioned. And that's where you'll find these stories. You know, I'll be mentioning people and promoting them and it may not be reciprocated. And why aren't they mentioning it? You have to question when the women aren't there. Because we can't go out and say, oh, I'm not there because I'm a woman because then we look bad.

You know, and so, yeah, there's there's a lot still to be done. And I think there's a lot of accountability. Some some people do need to raise their hands and realize that their past behavior hasn't been fair.

[Fabienne]

Absolutely. I think we are becoming slightly more aware of it. It doesn't mean that it's not still going on. But I think having the awareness now, even for the men in the industry going like, oh, because of certain movements, we have to be a bit aware feels feels a bit better.

[Colleen]

Yeah. And this isn't just men, too, I should say, as well. There are women who don't support women.

[Fabienne]

Oh, yeah.

[Colleen]

And, you know, you know, the Equal Rights Amendment was never ratified in America. Right. We're still not protected in the Constitution there. Right. But and there was a woman who was leading a movement against it. And I still encounter it. But it's a minority. And I do also feel like maybe that's because of the patriarchy, they act that way as well. Yes, I think so.

[Fabienne]

Yeah.

[Colleen]

But, you know, I mean, securities and insecurities and different things or they want to impress men or there's all different reasons that could happen. And I'm sure it's you know, it's it's it's a very difficult thing to deal with. But as I said, you know, I've had mainly positive experiences. And, you know, I'm so grateful for the everyone who has supported me irrespective of gender. And yeah, I think overall I've had a pretty good run.

[Fabienne]

Yeah, you've got great staying power. What would you say is the staying power because you're so authentic and true to yourself? I think that's one thing.

[Colleen]

I think sticking to your guns. But I also think diversity. I do a lot of different things. You know, I have classic Elvis Sundays. I do remixes. I'm a radio broadcaster. I'm a DJ and it's a lot to juggle. And, you know, a mother, you know, my daughter's now 19. So a bit of an empty nester now. But, you know, that was difficult. Yeah. And I do think don't put all your eggs into one basket. Yeah. And whatever you do, do to the best of your ability and just put your head down and focus on the work. And despite any noise going around around you.

Absolutely. Focus on the work.

[Fabienne]

Yeah. Don't look what everyone else is doing. It's very difficult in the age that we are in today.

[Colleen]

But, yeah, it's awful, isn't it?

[Fabienne]

Yeah, absolutely. OK, so let's get into the vinyl renaissance. Obviously, you were playing records years before this happened, but we are now, I think, in the 16th year of just an increase of vinyl being purchased and listened to. What are your thoughts on that, I guess, versus the digital culture? I know we touched on it earlier a bit.

[Colleen]

Yes, I think it has a lot to do with tangibility because everything is accessible right now at our fingertips, which is great as well. I mean, it's a lot to be said to be able to access almost any recording and to be able to check it out without having to own it or hear it on the radio, because that was the only way I could hear the songs that I liked before. Go to a friend's house if they owned it, if I owned it, or on the radio.

And that was it. You know, in some ways there's something kind of magical about that. But hey, when I want to hear like Arvo Part, hmm, let me hear some of his compositions. And then I can buy the vinyl. So I think part of it is the tangibility. You become the Uber fan if you own the actual physical manifestation of this album. And you also support the artist more because they're not getting anything from the streaming services for the most part. So that's one side. I think there's a bit of romanticism to it as well. You know, you have to interact with the vinyl, you have to put it on the turntable and flip it over. Whereas a digital format, you can just walk away and it turns.

[Fabienne]

Yeah, you're using more of your senses, right?

[Colleen]

100%. You have the artwork looks better because it's bigger, you can hold it in your hands, read it. So I think there's a lot of that too. But also the sound if you have a group, a well pressed album that's beautifully mixed and mastered and you have a nice sound system. There is a magical quality to listening back to that kind of a format when it's done well. There's a feeling.

It's just more musical. Yeah.

[Fabienne]

Yeah. Because I guess being more musical is using again, like we said, all the different senses as well.

[Colleen]

And it's not a series of ones and zeros.

[Fabienne]

Yeah, exactly. Okay, so as we're coming to the end, just maybe talk about your favourite moment as a DJ. I mean, wow, you must have had so many from radio, from performing at different places. Yeah. What's maybe one that sticks in your mind today? There's so many.

[Colleen]

I can't even. There's so many ones. It's really hard to say. And they're so different. So like a festival set when you have thousands of people dancing in a field is a wonderful thing or dancing in a tent like we are, like our love dancing tent that we have here. I always love doing sets in our love dancing tent because we help put together the sound system.

Right.

[Fabienne]

Yeah. And it is real, really like love.

[Colleen]

Exactly. Exactly. All the loft parties that I've been part of that have been, you know, so fortunate to have musically hosted again. Those aren't sort of DJ moments. It's a musical hosting moment. There's so many great dance floor moments. There's a place I love in Japan called Precious Hall that I love playing at. They're all so different. I can't say favourite because I don't believe in that.

I don't believe there's so many great places that I've played and so much love, both from promoters and people on the dance floor. I almost don't feel it's fair. And I just feel so thankful. And, you know, the whole thing. I'm so grateful that I am. I'm so grateful that I've had so many different experiences. You know, I've been playing DJing publicly for 35 years, pretty much almost 35 years. So it's there's a lot there.

[Fabienne]

Yeah, absolutely. And so what would you give advice wise to DJs wanting to get into people wanting to get into DJing?

[Colleen]

OK, well, I would say work really hard, put your head down, become as technically become as technically efficient as you can. But it starts with the love of music.

[Fabienne]

Yeah.

[Colleen]

And you really have to have that love of music to convey that spirit and to help channel it so that people feel it. Some people might use music as a way to become famous and they can be successful in that. That's not what I do.

So I would suggest whatever you do, do it to the best of your ability and find your tribe, find your tribe of people and work together and you'll be amazed at what can happen.

[Fabienne]

Lovely. Yeah. And I think just being true to yourself like that's what's going to get you everywhere.

[Colleen]

It is. It really is. You know, and you see the DJs that make it.

And, you know, I'm not saying that you have to make millions of pounds a year to be a DJ who's made it. If you're able to sustain a career in music, you've made it. You're lucky. I love that. So many people want to have a career in music and it's a hard graft. They don't see everything that goes on, you know, behind the scenes.

But you're still fortunate to be able to do that.

[Fabienne]

Yeah, absolutely. So I guess my final question is today, what brings you joy?

[Colleen]

Oh, so many things bring me joy. I mean, outside of music, what brings me joy is my family and friends. I love nature.

I love hiking. I love swimming. I love biking. I love reading. I love films. I love radio. I love I mean, there's so many different things, but you can bring that joy of being alive and just being thankful for being alive and to have the opportunities I've had to, you know, I'm grateful for where I live. I mean, the world is filled with war and all sorts of terrible things happening. And I am privileged and we are very privileged people if you're not experiencing that directly.

So I'm thankful for that, you know, so.

[Fabienne]

Great. Well, we're very thankful for having you on the show. So thank you so much for coming in. It's been amazing to hear your stories and your history and experiences. I really appreciate you being here. Thank you so much.

Thank you. That's it. I think we're done.

[Colleen]

You're really good.

[Fabienne]

Well, I hope you enjoyed that episode too. So that was so much fun to film. And we actually filmed it on International Women's Day, March the 8th last year. So it had this even more like awesome feminine energy to it. So no trials, please, because it's always interesting to hear from a female perspective. And also, of course, even if you're not a woman, the knowledge that she brought and the things she was talking about, like your authenticity and staying true to that throughout your career.

And I feel like that's something that can be touched on on any career, for anything you do in life, as long as you are true to yourself, you're always going to thrive. And that's what I always think anyway. But yeah, I hope you enjoyed it. And yeah, we've got two weeks until episode three. So stay tuned for that one. Yeah, let me know any of your feedback, any of your comments, and also who else you would love to see on the podcast.

But for now, thank you so much for listening or watching. And I'll see you soon. Bye.